“Predictive Dream XXXIV” by Katsuyo Aoki, Japan, 2012
Japan
2012
Each unique “skull” in the Predictive Dream Series is made of cast porcelain with white glaze and comes with the Plexi wall-mounting box and certificate of authenticity. Since her first solo exhibition in 2001 at Gallery LE DECO in Tokyo, Aoki has gone on to receive numerous awards and has been featured in exhibitions at the Saison Modern Art Museum in Karuizawa and the Taro Okamoto Museum of Art in Kawasaki. She was also selected for the prestigious Greenwich House Pottery Artist in Residency Program in New York. The past and the present collide in Aoki’s “Predictive Dream” series of porcelain skulls. Her work has sold successfully at major international auction sales. For the artist the use of ceramics as her preferred material is a method of expression through which she is able to incorporate various decorative styles, patterns, and symbolic forms. In her work, Aoki alludes to “historical backgrounds and ideas, myths, and allegories.”

Italy and USA
Circa 1970 & Updated 2012
A pair of vintage fiberglass armchairs originally Sergio Mazza and updated with colorful vinyl striped by Brazilian artist, Mauro Oliveira. Mauro has named this unique pair of chairs — Hard Candy. Each piece is coated in hard resin. Each chair is hand signed by the artist, Mauro Oliveira and dated 2012. Seat height is 14″; back height is 25 1/2″.

This amazing hand-blown, hand-made glass chandelier is a custom piece I designed for a project in Cabo San Lucas, Mexico. It was realized by the amazing glass artist Ernesto Cruz in his workshop and studio in Tlaquepaque, Mexico. Ernesto has created incredible custom chandeliers and sconces for numerous homes I’ve designed and I find his work to be sublime. His illuminated works of art are perfect comment-inspiring pieces that become the focal point of any space. Let us create a unique piece for you…if you dare.

Britain
CIRCA 1685
The arched crest surmounted above the two door cabinet decorated with pavilions and figures in a river landscape, opening to a fitted interior of ten variously sized drawers; raised on a stand having an elaborately carved apron incorporating foliate and floral motifs; raised on square baluster-form legs joined by X-form stretchers.

Maison Jansen (House of Jansen) was a Paris-based interior decoration office founded in 1880 by Dutch-born Jean-Henri Jansen and continuing in practice until 1989. Jansen is considered the first truly global design firm, serving clients in Europe, Latin America, North America and the Middle East by 1900.

Maison Jansen provided services to the royal families of Belgium, Iran, and Serbia; Elsie de Wolfe, the German Reichsbank during the period of National Socialism; and Lady Olive Baillie’s Leeds Castle in Kent, England.
The firm’s most published work was for the U.S. White House during the administration of John F. Kennedy.

The tables are of the highest design and manufacturing quality and feature an incised gallery, fluted legs and finial feet. It is possible to substitute stone or another material for tops, if desired. Sold as a Pair.

The bed is featured in Pauline Metcalf’s “Syrie Maugham” and similar examples were used in Michael Taylor’s iconic “Syrie” rooms as illustrated in Stephen Salny’s book “Michael Taylor Interior Design.”

Only a few names from the furniture and interior-design world cross over from collectors to popular culture. Charles and Ray Eames, Marcel Breuer, George Nelson, Isamu Noguchi… and recently John Dickinson. Dickinson, who died in 1982, was one of the 20th century’s most whimsical designers.

Born in Berkeley Calif., and trained at Parsons School of Design in New York, Dickinson returned to San Francisco to establish his design practice in 1956. Dickinson’s decorating was equally tailored. He was a modernist who acknowledged Jean-Michel Frank and Robsjohn-Gibbings as influences.

Each piece of furniture was meant to sit in its own space. Once he carpeted a coffee table, so it matched the rug underneath it.

An elegant, intelligent man, Dickinson became the darling of San Francisco society in the 1960′s Dickinson created a total look. ”What I do is always mine,” he said. ”I think this idea that everyone pays lip service to — that a room should reflect the client more than the decorator — is utter nonsense. My rooms always end up looking like me.’